Necronomicón

I must immediately make clear that the version of 'Succubus' I watched was the American one with the shorter running time. I have absolutely no idea what has been cut and how different this is from what Jess Franco originally intended. Even so, this is a remarkable movie, and one of the most interesting Franco movies I have seen.

The beautiful Janine Reynaud plays Lorna Green, an enigmatic erotic dancer cum performance artist who stages odd, sadomasochistic events at a nightclub. She is plagued by hallucinations (?) and begins to confuse fantasy and reality, a common Franco scenario. I have to admit by the half way point I didn't have a clue what was going on, or who was who, but I didn't mind. Plot in 'Succubus' is secondary. Atmosphere, aesthetics, babes and surreal dialogue which name-dropped everyone from Stockhausen to Spillane to Mingus to De Sade, make this movie essential viewing. Reynaud is stunning to look at, there's some tasty jazz on the soundtrack, and there's the added kick of seeing the legendary Howard Vernon, a Franco regular who also appeared in everything from Godard's 'Alphaville' to Polanski's 'The Ninth Gate'.

Beginners should check out 'Vampyros Lesbos' first, still the most satisfying Franco I've seen, but make 'Succubus' a close second. You'll see nothing like it anywhere!

The performer Lorna Green (Janine Reynaud) is a dominatrix in a S&M show in a nightclub and lover of the producer, William Francis Mulligan (Jack Taylor). Lorna attracts the attention of a stranger that believes she is the essence of evil and controls her mind. Lorna has sex with Mulligan and has a weird dream where she stabs a man with a needle in the eye. On the next morning, she is walking with Mulligan and sees a hearse on the road. When she glances at the corpse, she sees the man of her dream and cries. Soon Lorna has other daydreams followed by murders and she starts to blend reality with dreams. Soon she is confused with her nightmares and her memories from a past life when she was a countess. Meanwhile the stranger plots a scheme against Lorna with Mulligan.

"Necronomicon - Geträumte Sünden", a.k.a., "Succubus", is the first movie of Jess Franco outside Spain because of the censorship in his country. This movie is financed by Germany and produced in West Germany. Considered a cult movie for many viewers, I had a great expectation but I found it boring and with a messy screenplay. My vote is three.

Title (Brazil): "Succubus"

The timing was right. Art house sex films were all the rage and the marketing in the States was simple and brilliant, taking good advantage of punters seeking cinema kicks during the dawn of the sexual revolution. A phone number was published for people to call who wanted to know what the title meant. The bewildering erotic-horror element and the hallucinatory visuals and dialogue were not what many of them expected.

Old-timers in the Manhattan theatrical exhibition business told me it did very well at the box office. The put-downs by Canby and Ebert didn't hurt. Newspaper of the subway crowd, The New York Post, gave it a good review. The gloss of Euro-sophistication gave it a veneer of respectability that the crude sleaze of routinely shot American sexploitation films lacked. Viewers didn't feel the urge to slink out of the theater trying not to be seen.

In today's DVD and streaming world, with thousands of independent theaters now vanished from the landscape, without titillating ads in big city newspapers, Succubus-style films released today would be quickly forgotten.

After making several "normal" horror/exploitation films, Franco indulged in this baffling but engaging fever-dream of supernatural fantasy. Around this time, Franco, like his French counterpart Jean Rollin, began an arty phase, weaving haunting scenes of surrealism, eroticism, and horror into enigmatic, loosely constructed stories.

Both directors were notorious for writing scripts a few hours before shooting or starting a film without a script based on a dream, trusting improvisation and inspiration to furnish the rest of the story. The difference is that Rollin usually discovered some logical explanation along the way for all the weird goings on, while Franco's work remains ambiguous.

Our story begins with the beautiful redhead Lorna (Janine Reynaud) as a dominatrix in an avant-garde S&M nightclub act for jaded sophisticates. She is the symbol of dangerous seduction and the obsession of men and women alike. Her Mephistophelean manager (Jack Taylor) has somehow transformed her into "the essence of evil - a devil on earth", but how and why is left unexplained. There are long, lyrical dream sequences (nicely shot in soft, hazy tones) where she repeatedly returns to a Gothic castle by the sea. Roaming through the elegant rooms, she has memories of a past life as a countess. (Her thoughts, like the thoughts of most of the characters, are related via narration.) In a highly effective scene, a room full of mannequins dressed in period gowns become animated and threatening.

As fantasy and reality blend together, there are many strange encounters, tastefully restrained nude scenes (unusual for Franco), a few murders that may be hallucinations, and a decadent party straight out of "La Dolce Vita". In fact, Franco seems to be under the spell of Fellini (especially "Juliet of the Spirits") for much of the film.

As the story shifts from Portugal to Berlin, there are some nice scenes of the austere German city and creative shots (reflections in a car window, ducks on a pond) accompanied by poetic and philosophical musings. Clearly, there is some kind of artistic intent here despite a flawed and confusing narrative. A profusion of random ideas and beautiful/bizarre images pop up like wildflowers all over this crazy dreamscape but offer no explanation. Like many David Lynch films, the story is a head-scratcher, but there is enough stylish and visually rewarding material to make it worth seeing.

"Succubus" has Janine Reynaud as Lorna, a nightclub performer whose sadomasochistic live shows attract a plethora of wealthy onlookers. Though her shows are a success, Lorna begins to lose her grip on reality, fading in and out of a dreamlike marathon of bizarre encounters, images, and even murders.

As with virtually all Jess Franco films, "Succubus" suffers a serious incoherence issue— the editing is at times sloppy, the pacing is languorous and sometimes un-involving, and the central premise and exposition are all but essentially forgotten within the first ten minutes. The opening scene is clear and captivating, but the audience loses any and all potential grip immediately after— such is Jess Franco. With a plot that is either intrinsically unintelligible, or perhaps ingeniously molded to mirror the schizophrenic mind, the film instead offers visuals a plenty.

Sexually-charged, gaudy, and thoroughly dazzling are the aesthetics here, from the seediness of the nightclubs to the various sets and scenarios which Lorna is immersed in; there is a consistent visual flair that Franco employs which guarantees audience attention just on a surface level. The hallucinogenic nature of the film is reminiscent of adventures down the rabbit hole, albeit a bit more macabre and ten times as sexual. The stringing together of waking reality or waking fantasy is powerful on a subconscious level, as each of the images provoke without relent.

It's not difficult to see why some people can't stand the film, or Jess Franco, but there's something unusually captivating about "Succubus". Not being the biggest Franco fan, I did stumble through the film at times and I did find it dull in more than one instance, but it is a thoroughly bizarre amalgam of images and mindsets inhabited by a murderous nightclub S&M stripper/performance artist, and there's something inherently fascinating about that whether you like it or not. Even if you wanted to be bored, it's kind of hard to be. Confused? That's understandable. 6/10.